Plato’s Cosmology and Achilles’ Shield Compared (Full)


Symbolical and Numerological Elements in the Shield of Achilles Compared with Plato’s Cosmology

-It’s not carrying over from word the references. Apologies, will add later.

By: Jay

(c) Copyright, all rights reserved

The famed shield of Achilles is a mysterious, yet well-known chapter from Homer’s classic, The Iliad. Within the chapter is contained an entire microcosmic representation of the Greek worldview, replete with unique numerological significations, as well as other symbolic motifs, intended to convey through it’s imagery an entire hierarchical cosmology. The purpose of this paper will be to examine the specific numbers and symbols used, and to compare it with other roughly contemporary traditions, such as Plato’s cosmological explanations. In so doing, the intent is to achieve a greater understanding of the Greek mind as it viewed the totality of reality, comparing earlier mythological oral poetry with it’s later offspring, philosophy itself.1

The shield of Achilles and the rest of his armor embody the Greek conception of the hero as intimately and magically connected to his armor. The Greek warrior sought glory first and foremost, or timé, and the path to glory was one of successful warfare. Literary critic Kenneth John Atchity explains, “Achilles is the epitome of Iliadic man. The two artifacts which belong uniquely to him, Hephaestos’ shield and Peleus’ spear define not only the identity of Achilles, but also the essence of human nature as Homer conceives of it.”2 As is evident in Homer, the individualistic focus of the Greeks upon the singular hero is unique. Historian Michael Grant comments:

With lively, yet disengaged comprehension, each personage is depicted as a distinct individual [in the Iliad]. The most arresting is Achilles, who possesses in extreme degree the all the virtues and faults of the Homeric hero, and almost completely embodies the heroic code of honor….[Homer] dedicated his entire existence, with all the aid that his birth and wealth and physical prowess could afford him, to an unceasing, violently competitive, vengeful struggle to win applause…3 Continue reading

Dark City (1998) – Esoteric Analysis

Director's Cut Poster Showing the Head "Stranger" or Architect

By: Jay

I hate to harp on the same old thing, but the same old thing always manifests in films, and deserves to be harped on. Often what is considered to groundbreaking and avant garde is really just the same old gnostic themes repackaged with different dressing. It seems that there is actually a lack of creativity when it comes to matters Hollywood. The Knowing was also reviewed here, an Alex Proyas film, but Dark City deserved a review as well, in my estimation, since it is particularly interesting in this regard.

Dark City presents a dream world, wherein a group of alien-like archons or angelic rulers/daemons known as the “Strangers” control manufactured city by “tuning” it every night, meaning the city is re-created and it’s rat-like inhabitants are implanted with new memories. They are able to conform physical reality by will alone (“tuning”), and one of their subjects, John Murdoch, eventually attains this ability. Immediately, we realize the basic theory of “magick” at work, which is the act of conforming reality to your will. However, the Strangers do it by telekenesis, and eventually so does John Murdoch.

“Dark City,” we discover, has perpetually been in a state of darkness – it is always night, and no one can recall when it was daytime. So we have the gnostic theme of demiurge(s) who have trapped a world in base darkness, where they lack their true godpowers.  We see in the beginning a movie theater where films are playing named ‘The Evil” and “Nightmare,” cluing us into the fact that we are watching a movie that is essentially a nightmare. We see a hotel in which John Murdoch, the protagonist awakes nude in a bathtub, apparently being framed for a murder. However, this night is different, as it is Murdoch’s “awakening,” and from this point on, as he is chased by certain “Strangers,” Murdoch is able to “tune,” but this power is not yet under his control.

A cop is put on his case, Detective Bumstead, who picks up where a former cop had been working who went mad. His madness turned out to be a form of intense paranoia linked to a realization that all their reality was an illusion, and that they were the experiment of gnostic daemons.  John decides he must find out about his origins, since he cannot recall his past, either. For him, this is a quest to find Shell Beach, where he grew up. The entire city is a circular spiral, it turns out, and Murdoch discovers Shell Beach did not exist, and that Dr. Schreber had been aiding the Strangers in implanting fake memories in people. Rather than interpreting this as some form of “Illuminati MKULTRA mind control programming,” which most “conspiracy” writers would do, what makes more sense is a cabalistic or Platonic notion of metempyschosis or transmigration of souls, wherein we must “remember” the state of deity from which we have come. Murdoch, Dr. Schreber tells him, has evolved to the point where  he can tune reality at will.  The reality in which they exist is like The Matrix, and is a giant machine that can be manipulated by telekenetic will. Similarities with the Matrix Trilogy will be apparent here. Continue reading

Lemony Snicket’s Film – Esoteric Analysis

Film Poster

By: Jay 

Lemony Snicket’s: A Series of Unfortunate Events represents a deeper attempt at “hidden in plain view” revealing of occult secrets, than anything you might find in the more popular Harry Potter series. Harry Potter is an overt kind of participation in witchcraft, but Lemony Snicket’s is something else. It presents, in fact, a much more realistic and subtle allegory for the modern intelligence panopticon-inspired control system. Harry Potter focuses on superstition, while Lemony Snicket’s focuses on the actual workings of the cryptocracy. 

Admittedly, I have not read the book series, but I have seen the film several times and read in depth analyses of both, and it’s pretty obvious what the message is, if you have eyes to see. The most prominent symbol in the film is the eye, and particularly the symbolism of the eye as the All-seeing Eye. The eye here is not so much an Egyptian or religious symbol, but rather in the sense of the panopticon of control by secret societies. The eye is the means by which the populace is watched, as well as by which information enters the mind.  In the film, the Baudelaire children, having been orphaned by their apparently dead parents.  From the beginning of the DVD, we see this imagery, as the kids are attached to the marionette strings of Count Olaf, the antagonist/evil genius. 

Count Olaf holds the Baudelaire children on a marionette string with panopticon All-seeing Eyes

There is endless speculation and pyschonautery concerning the meaning of the eye among the conspiraciologists, but we need not jump to the extreme for understanding its real esoteric significance. Yes, there is the evil eye and yes, there are All-seeing Eyes that had to do with Egypt, but when you consider the modern relevance of this symbol, it has much more to do with technological surveillance of all areas of life and thus a constructed control grid than it does necessarily with ancient Egyptian deities. Indeed, the symbol itself is just a symbol of divine providence or omniscience. What the referent for “divine” here, or whose “eye” is meant is entirely up for grabs. It could refer to intelligence agencies, such as the old MI-5 Logo or the proposed DARPA logo (which is probably the most likely reference), or perhaps to Satan. Count Olaf, as well will see, will have “devilish” and God-like characteristics. Continue reading